Now that the two Safdie brothers have split, their first solo features were very well awaited this year. On the one hand we had « The Smashing Machine » by Benny Safdie focusing on the rise and fall of MMA pioneer Mark Kerr, on the other hand « Marty Supreme » by Josh Safdie on the rise (-ish) and fall (-ish) of fictional table tennis Marty Mouser. Even though the brothers have parted ways the themes of both features are uncannily similar : both focus on sports champions but with a strong performative element (wrestling as a spectacle vs the showman tricks Marty has to pull to survive), both follow anti-heroes figures that are struggling, even if not in the same areas with success and resilience while they both seem « gifted ». But what about the music ? Well, even if they are not in the same register at all they both rely on contrast. The delicate and experimental dreamy jazz of Nala Sinephro for The Smashing Machine acting as a counterpoint to the great violence of the MMA matches, and the 80s ethereal sometimes kitchy synths of Oneohtrix Point Never (who did the previous OSTs of the Safdies) for Marty Supreme, contrasting with the intrigue set in the early 1950’s. It’s funny to note that both Nala Sinephro and OPN are Warp giants. As for the syncs, they follow the same logic with the amazing Masayoshi Takanaka’s Goblin album opening The Smashing Machine and the cheesy classic « Forever Young » playing as we see Timothy Chalamet’s spermatozoid meeting the egg of Odessa A’Zion. If we cannot separate both OSTs as they both sound great and a contrast is always welcome, we must note that the syncs in The Smashing Machine follow a more unified logic and sound that blends smoothly with the narration. But on the question of Mark Kerr vs Marty Mouser, we will let you decide.

This year’s Cannes Soundtrack Award went to Sirat, Oliver Laxe’s desert techno-trance odyssey. Inspired by rave and free party culture, the film is more than a homage: it’s a visceral, spiritual journey through the Moroccan desert. Kangding Ray’s powerful, evolving score moves from deep, percussive techno to ethereal ambient soundscapes, seamlessly blending with Laia Casanova’s sound design. Together, they craft a “third narration” where image, story, and music merge into a transformative experience.

When she’s not serving as a music supervisor at BMM, Elise Kravets is a member of the reissue label Les Éditions Vermillon. The team of Parisian diggers has released their second vinyl compilation, focused on forgotten musical gems from a region in France. Following "The Great South-East" (1979-1986), which was spotted by Tyler The Creator and DJ Harrison (who recently did a cover of one of the tracks), they now present "The Great West" (1978-1988).

Halfpipe Records' latest compilation ‘Low Lights Paris Nord’ has been on our speakers for the past few months. The Parisian label, which has conquered clubs with its events blending DJ sets, skate ramps, and UK-inspired electronic music, has established itself as one of the most prominent collectives in Europe.